Reimaging the Art Scene in George Town, Penang

Author(s):  
Teresa Wai See Ong
Keyword(s):  
2019 ◽  
Vol 96 (4) ◽  
pp. 54-77
Author(s):  
Nicolas G. Rosenthal

A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that American Indian artists in California challenged and rewrote dominant historical narratives by foregrounding Native American perspectives in their work.


Africa Today ◽  
2019 ◽  
Vol 65 (4) ◽  
pp. 203
Author(s):  
McLaughlin
Keyword(s):  

2018 ◽  
Vol 39 ◽  
pp. 190-194
Author(s):  
Guillaume Sirois
Keyword(s):  

2014 ◽  
Author(s):  
Nagathisen Katahenggam ◽  
G Gunasegaran Gopal ◽  
Rozita Arshad
Keyword(s):  

2018 ◽  
Vol 16 (5) ◽  
Author(s):  
Rohayah Che Amat

This research presents the value of historic urban landscape (HUL) elements in influencing the character of George Town UNESCO World Heritage Site (WHS), Penang, Malaysia. The values were perceived by the local community of different social-cultural groups that occupied the study area. The historic urban landscape elements constitute towards the protection of its townscape. The identification of the heritage elements influenced by the community interaction with their environment. This study also helps to define the character of a place, as well as reflecting its historical significance. The study adopted four techniques to gather both qualitative and quantitative data, including questionnaire survey, in-depth interview, visual survey and content analysis. In general, the local community has the capability in valuing the historic urban landscape values. The outcomes of their perceptions became the statement of the historic urban landscape values, which are expected to lead to the development of the areas. The community evaluation and perception can be expanded in implementing any development of the historic urban area by the authority.


1979 ◽  
Vol 7 (1/2) ◽  
pp. 4-5
Author(s):  
Mary F. Williamson
Keyword(s):  

2008 ◽  
Vol 32 (3) ◽  
pp. 293-304 ◽  
Author(s):  
Lik Meng Lee ◽  
Yoke Mui Lim ◽  
Yusuf Nor’Aini

KronoScope ◽  
2022 ◽  
Vol 21 (2) ◽  
pp. 132-156
Author(s):  
Carla Gabrí

Abstract This paper aims at re-evaluating two of Hungarian artist Dóra Mauer’s films, the video work Proportions (1979) and the 16mm film Timing (1973/80). Both films follow a rigid structure. In Proportions, Maurer uses a paper roll to compare her own body measures repeatedly; in Timing, she repeatedly folds a white linen to compare the rhythm of her arm movements. Through her use of paper and the gesture of folding, the two films can be read as references to the very origin of the term format, as coined in early letterpress printing. When the notion of format is understood as a determination of a ratio and, as such, as an indexical reference to given social relationships (Summers, 2003), these films unfold sociocultural and political meanings. The present paper traces this spectrum of meaning through the pointed inclusion of historical discourses surrounding early motion studies, the art scene in socialist Hungary in the 1970s, and early time experiments before the advent of precision clocks.


2021 ◽  
pp. 147447402110536
Author(s):  
Hulya Arik

While research on geographies of creativity have proliferated in the last few years, there has been scant attention to religious cultural and artistic practices, particularly in the context of the Middle East. This research seeks to address such gap with a focus on the Islamic and traditional visual arts scene which has flourished in Istanbul in the past decade and a half along with the rise of political Islam in Turkey. Rendered obsolete through the Western-oriented and secular cultural politics since the early republican era, art forms such as Arabic calligraphy ( hat), miniature ( minyatür), and illumination ( tezhip) have now found currency as ‘authentically Turkish and Islamic’ in an art scene that emerged alongside Islamist politics. This paper examines the trajectory of Islamic and traditional visual arts through the lens of cultural and creative industries starting from the cultural politics of Islamic urban governance through the 1990s and 2000s, and to the emergence of an Islamist-nationalist authoritarianism in the past decade. In doing so, it aims to situate Islamic and traditional visual arts on the map in studies on geographies of creativity, particularly in the Middle Eastern and Islamic context, where limited attention has been paid to cultural and artistic practices. With ethnographic reflections from the field, it highlights the internal dynamics of an art scene and the potential it bears in unsettling the core concepts of Turkish Islamic nationalism from within.


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